ART  PRIMER  CERAMIC  SERIES,  No.  6 

Pennsylvania  Museum  and  School  of  Industrial  Art 


SALT  GLAZED  STONEWARE 


Germany,  Flanders,  England 

AND 

The  United  States 


BY 

EDWIN  ATLEE  BARBER,  A.M.,  Ph.D. 

Curator 


PRINTED  FOR  THE  MUSEUM 
PHILADELPHIA 
1906 


Copyright,  1906,  by 
The  Pennsylvania  Museum 

AND 

School  of  Industrial  Art 
Philadelphia,  Pa. 


PREFATORY  NOTE. 


The  Art  Primers  of  the  Pennsylvania  Museum  and  School  of  In- 
dustrial Art  are  designed  to  furnish,  in  a compact  form,  for  the  use 
of  collectors,  historical  and  art  students  and  artisans,  the  most  re- 
liable information,  based  on  the  latest  discoveries,  relating  to  the 
various  industrial  arts.  Each  monograph,  complete  in  itself,  con- 
tains a historical  sketch,  review  of  processes,  description  of  char- 
acteristic examples  of  the  best  productions,  and  all  available  data 
that  will  serve  to  facilitate  the  identification  of  specimens.  In 
other  words,  these  booklets  are  intended  to  serve  as  authoritative 
and  permanent  reference  works  on  the  various  subjects  treated. 
The  illustrations  employed,  unless  otherwise  stated,  are  reproduc- 
tions of  examples  in  the  Museum  collections. 

In  reviewing  the  various  branches  of  ceramics  the  geographical 
arrangement  used  by  other  writers  has  given  place  to  the  natural 
or  technical  classification  to  permit  the  grouping  of  similar  wares 
of  all  countries  and  times,  whereby  pottery,  or  opaque  ware,  is 
classified  according  to  glaze , its  most  distinctive  feature,  while,  on 
the  other  hand,  porcelain,  or  translucent  ware,  is  grouped  accord- 
ing to  body,  or  paste. 

In  the  preparation  of  a Primer  on  Salt  Glazed  Stoneware  the  au- 
thor has  consulted  the  principal  authorities  on  the  subject,  and  he 
is  particularly  indebted,  for  many  of  the  facts  presented,  to  The 
Art  of  the  Old  English  Potter  and  The  Art  Stoneware  of  the  Low  Coun- 
tries and  Germany,  by  M.  L.  Solon  ; English  Earthenware  and  Stone- 
ware, by  William  Burton ; the  South  Kensington  Handbook  on 
English  Earthenware,  by  Prof.  A.  H.  Church,  and  Early  English  Pot- 
tery, Earned,  Dated  and  Inscribed,  by  John  Eliot  Hodgkin  and  Edith 
Hodgkin.  The  information  contained  in  these  pages  will  serve  to 
clear  up  certain  disputed  points  and  correct  some  of  the  long  ac- 
cepted traditions  of  ceramic  writers  which  have  been  found  to  be 
erroneous.  E.  A.  B. 


SALT  GLAZED  STONEWARE. 

CHARACTERISTICS. 

Stoneware  is  a highly  fired,  partially  vitrified  pottery,  composed 
of  plastic  clay  and  sand,  covered  with  an  exceedingly  hard  saline 
glaze  resembling  in  texture  the  granular  surface  of  an  orange  skin, 
produced  by  throwing  into  the  kiln,  when  the  heat  is  most  intense, 
common  salt,  which  vaporizes  and  settles  on  the  surface  of  the  ware 
in  minute  drops,  and  being  thin  and  perfectly  transparent  does  not 
obliterate  the  finest  scratch.  The  body  of  the  ware,  of  a white, 
brown,  buff,  or  grey  color,  is  so  hard  that  it  will  strike  fire  w'ith 
steel,  produces  a ringing  sound  when  struck,  is  impervious  to  water 
and  resists  the  action  of  acids.  The  ware  is  finished  at  a single 
firing,  except,  as  we  shall  see  hereafter,  in  those  cases  where  the 
decorations  are  applied  over  the  glaze  in  enamel  colors,  as  in  some 
of  the  stoneware  of  Kreussen  and  the  white  salt  glaze  ware  of 
England. 

ORIGIN. 

It  is  not  known  exactly  when  glazing  by  evaporation  was  first 
discovered.  In  North  Germany  salt  glazed  stoneware  was  being 
manufactured  extensively  early  in  the  sixteenth  century.  It  be- 
came popularly,  but  improperly,  known  as  Cologne  ware,  a name 
evidently  given  to  it  from  the  fact  that  the  products  of  the  neigh- 
boring potteries  in  the  valley  of  the  Rhine  were  sent  to  that  mar- 
ket. Similar  wares  wrere  produced  about  the  same  time,  or  soon 
after,  in  Flanders,  hence  the  name,  gres  de  Flandres,  or  grh  Fla- 
mand. 

Salt  Glazed  Stoneware  may  be  divided  into  three  groups,  as 
follows : — 

I.  Stoneware  of  Germany  and  the  Low  Countries. 

II.  Salt  Glazed  Wares  of  England. 

III.  Stoneware  of  the  United  States. 


6 


I.  STONEWARE  OF  GERMANY  AND  THE  LOW 
COUNTRIES. 

The  stoneware  of  German}'  and  the  Low  Countries  may  be 
grouped  under  the  following  heads,  according  to  the  color  of  body 
and  glaze : — 

1.  White  Ware  of  Cologne  or  Siegburg. 

2.  Red  Brown  Ware  of  Raeren. 

3.  Brown  or  Mottled  Ware  of  Frechen. 

4.  Rusty,  Dark  Brown  Ware  of  Kreussen. 

5.  Grey  Ware  of  Grenzhausen,  with  Blue,  Brown  and 
Purple  Enamels. 

6.  Brown  and  Grey  Wares  of  Bouffioux. 

i.  SIEGBURG. 

Siegburg,  opposite  Bonn,  is  believed  to  be  the  earliest  centre  of 
stoneware  manufacture  in  Germany.  In  the  fifteenth  century  a 
coarse,  brownish-grey  stoneware  was  produced  there.  In  the  six- 
teenth century  more  artistic  ware  began  to  be  made  and  a fine 
white  clay  was  used.  This  was  for  a long  time  commonly  known 
as  Cologne  ware.  The  earliest  dated  pieces  appeared  in  the  second 
half  of  that  century. 

Among  the  most  characteristic  forms  produced  at  Siegburg  are 
the  tall  drinking  vessels,  or  cannettes,  of  cylindrical  shape,  slightly 
tapering  toward  the  top.  At  the  neck  and  base  are  several  corru- 
gations or  rings  imitating  the  hoops  of  the  earlier  wooden  drinking 
flagons.  Extending  from  top  to  bottom  are  elaborately  decorated 
panels,  usually  three  in  number,  stamped  with  relief  designs  and 
attached  to  the  surface  side  by  side,  in  separate  sheets.  In  some 
instances  the  same  panel  is  repeated,  but  on  many  of  the  best  ex- 
amples three  entirely  different  series  of  subjects  appear,  such  as 
medallions,  enclosing  coats  of  arms,  masks,  and  scriptural  scenes, 
frequently  accompanied  by  dates.  These  pieces  have  been  imper- 
fectly glazed,  many  examples  having  an  entirely  dry  surface,  while 
others  seem  to  have  absorbed  a thin  coating  of  the  glaze  which 
shows  as  a slight  gloss  in  patches.  Several  good  examples  of  Sieg- 
burg white  stoneware  cannettes  may  be  seen  in  the  Pennsylvania 
Museum.  At  the  top  of  one  is  a circular  medallion  representing 
Solomon  judging  between  the  two  women  with  the  dead  and  living 


1.  White  Stoneware  Bai.uster  Jug  (5%  inches  in  height). 
Sieghurg,  Sixteenth  Century. 

Museum  No.  ’99-486. 


•2,  3.  White  Stoneware  Cannf.ttes  (9%  inches  in  height). 
Sieghurg,  Late  Sixteenth  Century. 

Museum  Nos.  '05-242,  '76-861. 


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babes,  repeated  three  times.  Extending  around  the  central  portion 
are  three  oval  medallions,  each  depicting  David  and  Goliath,  while 
below  are  three  half-circles,  in  each  of  which  Daniel  and  the  angel 
are  portrayed.  Between  the  medallions  are  well-modeled  vines. 
The  clay  is  of  a pale  buff  tint,  with  a very  thin  coating  of  salt  glaze 
(see  No.  3).  Another  vessel  of  the  same  form  shows  figures  of 
Joshua,  Alexander  and  David,  with  the  date  1589  (see  No.  2),  while 
a third  is  entirely  covered  with  biblical  subjects,  including  por- 
trayals of  Moses,  Adam  and  Eve,  a crucifix  and  Agnus  Dei. 

Another  form  which  was  popular  with  the  early  Siegburg  potters 
is  the  baluster-shaped  jug,  with  globular  body  spreading  out  above 
in  a cup-like  mouth  and  below  in  a broad  foot.  A marked  pecu- 
liarity of  these  pieces  is  the  thumbing  or  pinching  of  the  feet  into 
bosses  or  waving  outlines.  A small  baluster  jug,  in  the  Museum 
collection,  is  decorated  with  three  relief  medallions,  representing 
Adam  and  Eve  in  the  Garden  of  Eden  (see  No.  1).  The  handles 
of  these  jugs  are  circular  or  ring-shaped,  and  are  frequently  only 
large  enough  to  admit  the  forefinger. 

The  main  characteristics  of  Siegburg  stoneware  are  the  light  color 
of  the  clay ; the  absence  of  salt  glaze  except  as  a thin  gloss ; deco- 
ration (usually  scriptural  or  historical  subjects)  by  means  of 
stamped  panels  applied  (in  the  case  of  cannettes)  in  sheets ; the 
thumbing  or  smoothing  of  the  bases  of  pieces  by  hand,  and  the 
consequent  absence  of  the  concentric  grooves  produced  by  the  cut- 
ting wire.  Marks  were  rarely  used.* 

White  stoneware,  bearing  a strong  resemblance  to  the  Siegburg 
ware,  but  with  a better  glaze,  was  made  at  Altenburg,  Saxony,  late 
in  the  seventeenth  and  early  in  the  eighteenth  century.  Cylindri- 
cal mugs  embossed  with  the  arms  of  Saxony  are  numerous.  One 
example,  in  the  Museum  collection,  is  decorated  with  bands  of 
separately  applied  rosettes  and  small  floral  reliefs,  and  mounted 
with  hoops  of  pewter,  a broad  foot  and  lid  of  the  same  metal 
(see  No.  4).  Frequently  the  whiteness  of  the  clay  was  intensified 
by  a thin  wash  of  stanniferous  enamel. 

* The  writer  has  been  informed  by  Charles  and  William  Wingender,  proprie- 
tors of  a stoneware  factory  at  Haddonfield,  N.  J.,  that  white  stoneware  was  also 
made  at  one  time  at  Hohr,  where  they  served  their  apprenticeship,  many  pieces 
having  been  discovered  on  the  sites  of  the  early  potteries  at  that  place.  The 
manufacture  of  white  stoneware  was  not  continued  in  Germany  after  the  Thirty 
Years’  War  (1618-1648). 


8 


2.  RAEREN. 

Raeren,  near  Aix-la-Chapelle,  in  the  old  province  of  Limburg, 
was  the  earliest  seat  of  the  stoneware  industry  in  Flanders.  In 
1814  it  became  a part  of  Germany.  Here  was  produced  the  first 
salt-glazed  brown  stoneware,  pieces  having  been  discovered  bearing 
dates  as  early  as  1539. 

The  Raeren,  or  Limburg,  stoneware  is  of  a metallic  reddish-brown 
color,  produced  by  the  flames  of  the  kiln  acting  on  the  oxide  of  iron 
contained  in  the  clay,  the  protected  or  covered  parts  remaining  un- 
colored. Examples  of  Raeren  stoneware  frequently  present  a mot- 
tled or  variegated  surface,  shading  in  places  from  a pale  grey 
through  yellow  to  bronze-like  brown.  Sometimes  the  ware  was 
dipped  in  a solution  of  pulverized  iron  ore  or  rubbed  with  black 
lead  to  darken  the  color.  The  glaze  is  often  smooth  and  glossy, 
and  does  not  show  distinctly  the  granulation  or  pitting  of  the  sur- 
face. 

One  of  the  most  characteristic  shapes  is  the  jug  or  vase  with  a 
cylindrical  centre  placed  between  two  half-spheres,  the  lower  one 
terminating  in  a foot,  the  upper  one  surmounted  by  a long,  cylin- 
drical neck.  These  jugs  were  moulded  in  separate  parts,  which 
were  afterwards  joined  together.  They  have  a frieze  extending 
around  the  central  portion,  usually  decorated  with  scenes  from  the 
Old  or  New  Testament.  A subject  frequently  employed  is  the 
Peasants’  Dance.  A pair  of  flagons,  or  Bauerntanz-Kriige  (peas- 
ants’ dance  jugs),  in  the  Museum  collection,  have  a light  brown  or 
reddish  glaze,  and  the  date  1597  (see  No.  5).  Around  the  centre 
extend  bands  with  continuous  figure  scenes  of  men  and  women 
dancing  in  pairs,  accompanied  by  the  following  inscription 

GERHET  DU  MUS  DAPER  BLASEN 
SO  DANSSEN  DI  BUREN  ALS  WEREN  SI  RASEN 
FRY  VF  SPRICHT  BASTOR 
ICH  VERDANS  DY  KAP  MIT  DEN  KOR. 

Translation : 

Gerald  thou  must  blow  lustily 

So  the  peasants  may  dance  as  though  they  were  mad 
Faith,  says  the  pastor, 

I will  dance  away  my  cap  with  my  cassock. 

Jugs  of  similar  shape  are  embellished  with  a band  of  panels  or 
apartments,  illustrating  “ Works  of  Mercy.”  The  letters  which 


4.  White  Stoneware  Mug  (1%  inches  in  height). 

Altenburg,  Saxony,  about  17(!0. 

Museum  No.  ’82-360. 


5.  Brown  Stoneware  Jug  (10  inches  in  height). 
Raeren,  1597. 

Museum  No.  ’82-357. 


9 


generally  accompany  these  scenes  are  the  abbreviated  inscriptions, 
as  D.  D.  R.,  “ Durstigen  Dranken  ” (give  drink  to  the  thirsty)  ; H. 
S.,  “ Hungrigen  Speisen  ” (feed  the  hungry) ; N.  K.,  “ Nackten 
Kleiden  ” (clothe  the  naked) ; W.  D.,  “ Wappen  Dantzig  ” (the 
Dantzig  arms),  etc.  These  jugs  were  afterwards  copied  in  the  grey 
and  blue  stoneware  of  Grenzhausen. 

While,  as  a rule,  factory  marks  were  not  placed  on  ancient  stone- 
ware, on  Raeren  ware  are  frequently  found  letters  and  monograms 
which  represent  abbreviated  inscriptions,  or  the  initials  of  mer- 
chants for  whom  the  pieces  -were  made.  In  a few  instances  the  first 
letters  of  the  names  of  potters  or  modelers  are  found,  but  these 
were  later  copied  by  so  many  other  makers  that  they  may  be  con- 
sidered untrustworthy  for  purposes  of  identification.  Among  these 
marks  will  often  be  seen  a device  resembling  the  figure  4,  which, 
while  its  significance  has  never  been  fully  determined,  is  supposed 
to  represent  the  badge  of  an  association  of  merchants.  These 
marks,  if  they  may  be  considered  as  such,  are  usually  enclosed  in 
medallions  which  ornament  the  sides  of  jugs  and  other  articles. 

The  principal  characteristics  of  Raeren  stoneware,  as  we  have 
already  shown,  are  a yellowish  or  greyish  body ; heavy  metallic 
glaze,  varying  in  color  from  a deep  reddish-brown  to  a pale  dirty 
yellow,  frequently  mottled  or  freckled,  in  places,  and  more  nearly 
resembling  a thick  coating  of  lead  than  a deposit  of  salt  glaze ; 
moulded  in  sections  and  joined  together;  decorations  in  relief, 
among  the  most  popular  subjects  being  Peasants’  Dances,  Works 
of  Mercy,  biblical  scenes,  Arms  of  towns  and  individuals,  medal- 
lions containing  ciphers,  badges  or  marks. 

3.  FRECHEN. 

Frechen,  near  Cologne,  is  one  of  the  ancient  centres  of  salt  glazed 
stoneware  in  Germany.  The  ware  produced  there  bears  a close  re- 
semblance to  that  of  Raeren  in  color  and  forms,  and  it  is  frequently 
difficult  to  distinguish  the  one  from  the  other.  Many  of  the  Fre- 
chen products,  however,  possess  well-marked  peculiarities.  The 
glaze  is  often  of  a blackish,  rather  than  brow'n  tint,  and  sometimes 
appears  of  a dull  greenish-yellow  tone,  usually  freckled  or  accu- 
mulated in  spots.  The  ware  is  generally  coarse  and  simply  deco- 
rated. A common  shape  is  the  Greybeard,  distinguished  by  a 
spherical  body  tapering  at  the  foot  and  neck,  with  a single  small 
loop  handle  at  the  back.  On  the  narrow  portion  of  the  neck  is 


10 


modeled  a rude  representation  of  an  elongated,  bearded  mask. 
These  vessels,  known  in  Germany  by  the  name  Bartmann  (bearded 
man),  were  afterwards  imitated  in  England,  where  they  were  popu- 
larly called  Bellarmines.  Llewellynn  Jewitt,  in  his  Ceramic  Art  of 
Great  Britain,  states  that  they  “ were  derisively  named  after  Cardi- 
nal Bellarmine,  who  died  in  1621.  The  Cardinal  having,  by  his 
determined  and  bigoted  opposition  to  the  reformed  religion,  made 
himself  obnoxious  in  the  Low  Countries,  became  naturally  an  ob- 
ject of  derision  and  contempt  with  the  Protestants,  who,  among 
other  modes  of  showing  their  detestation  of  the  man,  seized  on  the 
potter's  art  to  exhibit  his  short  stature,  his  hard  features,  and  his 
rotund  figure,  to  become  the  jest  of  the  alehouse  and  the  byword 
of  the  people.”  This  form  of  jug  was  produced  in  infinite  variety, 
and,  while  also  made  to  some  extent  at  other  German  and  Flemish 
factories,  is  more  frequently  found  among  the  Frechen  produc- 
tions. 

Another  form  of  vessel,  produced  extensively  at  Frechen,  was 
the  cannette  with  boldly  modeled  decorations,  usually  coated  with 
the  blackish  glaze  already  mentioned.  At  a later  date  the  grey 
and  blue  stoneware  was  extensively  made  there. 

A decorative  detail,  frequently  used  on  Bartmanns  and  other 
shapes,  is  a coin-like  medallion,  disposed  at  intervals  around  the 
surface.  Some  of  the  best  examples  possess  bands  of  inscriptions 
around  the  centre.  Arms  and  conventionalized  designs  in  medal- 
lions form  a conspicuous  feature,  and  vines  and  scroll-work  also 
abound. 

Frechen  ware  was  cut  from  the  wheel,  instead  of  being  torn 
away,  as  was  the  case  with  the  Siegburg  ware,  and  one  of  the  most 
distinctive  features  is  the  presence  of  elliptical  markings  or  concen- 
tric circles  of  grooves  on  the  base,  usually  starting  at  a fixed  point 
near  one  edge  and  extending  entirely  across,  produced  by  the 
coarse  twisted  wire  or  cord  used  in  cutting  the  clay  from  the  wheel 
while  slowly  revolving,  at  the  end  of  the  operation  of  throwing. 
This  phenomenon  proves  the  ware  to  be  of  later  date  than  the 
hand-finished  pieces  of  Siegburg.  These  lathe  marks  are  only  oc- 
casionally found  on  the  productions  of  other  German  stoneware 
factories. 

The  principal  distinguishing  features  of  Frechen  ware  are,  there- 
fore, the  gathering  of  the  brown  glaze  into  groups  of  spots  or 
freckles ; the  wire  marking  on  the  base ; the  use  of  applied  coin- 


C.  Brown  Stoneware  “ Greybeard  ” inches  in  height). 
Bouffioux,  aboij^  1700. 

Museum  No.  ’94-201. 


7,  8.  Dark  Brown  Stoneware  Dreg  .Iar  and  Meg  (14  and  6%  inches  in  height). 
Kreussen.  Bavaria.  Middle  Seventeenth  Century. 

Museum  Nos.  ’()5-2.i(i,  'S2-34:i. 


11 


like  ornaments  and  scroll-work  ; the  majority  of  the  brown  glazed 
Greybeards  or  Bartmanns  originated  at  Frechen. 

4.  KREUSSEN. 

At  Kreussen,  in  Bavaria,  brown  stoneware  was  made  from  about 
the  middle  of  the  sixteenth  century  ; the  earliest  dated  specimens 
which  have  come  to  light  belong  to  the  early  part  of  the  seven- 
teenth century.  A dark  brown  clay  was  extensively  used.  The 
ware  usually  possesses  a rather  thin  glaze  or  gloss,  more  evenly 
distributed  than  that  of  the  white  ware  of  Siegburg.  Jugs,  jars 
and  mugs  are  among  the  most  familiar  forms.  The  earliest  pro- 
ductions are  of  a uniform,  rusty  brown  color,  decorated  with  ap- 
plied fragmentary  reliefs,  such  as  figures  of  the  Apostles,  heads  of 
historic  personages,  arms,  etc.  The  drinking  mugs  were  usually 
capacious,  and  of  broad,  squatty  form.  Drug  jars  of  barrel  shape, 
with  four  or  six  flat  sides  or  panels,  were  particularly  characteristic. 

In  the  Museum  are  several  fine  examples  of  this  ware.  One  of 
these,  a hexagonal  drug  jar,  bears  relief  figures  of  ten  of  the  Apos- 
tles on  five  of  the  panels,  two  on  each,  while  the  sixth  side  contains 
the  inscription,  johann  may.  doctor,  m.  d.  st.  c.  m.  1657.  Around 
the  shoulder  of  the  jar  are  clusters  of  grapes,  while  at  the  six  an- 
gles are  heads  of  cherubs,  festoons,  etc.  A contracted  circular  top 
is  fitted  with  a pewter  lid  which  is  screwed  in,  on  which  the  date 
1658  is  engraved.  This  piece  came  from  the  celebrated  collection 
of  M.  Roux,  of  Tours  (see  No.  7).  A second  example  is  similarly 
decorated  with  representations  of  the  Apostles,  apparently  from 
the  same  moulds,  while  above  them  are  portrait  medallions  of  men 
and  women,  including  one  of  Gustavus  Adolphus.  On  the  shoulder 
are  five-petaled  roses  and  other  flowers.  A large,  low  drinking  mug 
of  the  same  rusty  brown  ware,  with  pewter  cover,  has  for  adorn- 
ment the  twelve  Apostles,  in  the  midst  of  which  is  the  figure  of 
Christ  (see  No.  8).  The  surface  of  these  pieces  shows  distinctly, 
through  the  glaze,  the  lines  of  the  brush  used  in  smoothing  the 
clay  around  the  applied  reliefs,  the  fine  parallel  striations  running 
at  different  angles,  where  the  direction  of  the  brush  has  been 
changed.  Another  peculiarity  noticed  on  the  majority  of  the 
Kreussen  products  is  an  unglazed  circular  place  near  the  centre  of 
the  base,  several  inches  in  diameter,  evidently  caused  by  placing 
the  pieces  on  top  of  each  other  in  the  kiln,  only  the  annulus  or  ex- 
posed rim  being  subjected  to  the  fumes  of  the  vaporized  salt. 


12 


At  a somewhat  later  period,  bright,  opaque  enamels, — red,  yel- 
low, blue,  brown  and  white, — resembling  oil  colors,  were  applied 
to  the  reliefs,  and  gilding  was  liberally  used.  The  same  forms  were 
employed,  the  decorative  subjects  being  figures  of  the  Apostles, 
representations  of  boar  and  stag  hunts,  heads  and  busts  of  actual 
personages,  etc.  Several  fine  examples  of  this  style  may  be  seen 
in  the  Museum  collection.  A group  of  enameled  pieces  of  the  sev- 
enteenth century,  two  mugs  and  a wine  jug,  or  cruche,  are  shown 
in  Nos.  10,  11  and  12.  The  ornamentation  is  in  relief,  touched 
with  vivid  light  blue,  red,  yellow,  white  and  green  enamels.  The 
mug  at  the  right  is  ornamented  with  figures  of  Saints,  alternating 
with  sprays  of  lilies  of  the  valley.  Around  the  top  extends  an  in- 
scription, while  beneath  the  handle  appears  the  date  1672.  The 
central  jug  bears  in  front  the  figures  of  the  Virgin  and  Child.  A 
large,  low  mug,  in  the  same  collection,  is  embellished  with  hunt- 
ing scenes  (see  No.  9)  on  the  two  sides,  and  the  head  of  a gentle- 
man of  the  period  in  front. 

So-called  mourning  jugs,  with  geometrical  patterns  in  black  and 
white,  often  reheightened  with  gilding,  were  also  produced  in 
abundance.  The  use  of  enamel  colors  and  gold  marked  the  de- 
cadence of  the  art.  Many  counterfeits  of  this  ware  have  been  pro- 
duced, but  these  may  generally  be  detected  by  the  oil  pigments 
used,  which  can  be  easily  scraped  off  with  a knife. 

The  distinguishing  features  of  Kreussen  stoneware  are  the  pecu- 
liar uniform  dark-brown  color  of  the  glaze,  often  suggestive  of  iron 
rust;  the  distinctive  forms  of  vessels;  the  use  of  colored,  opaque 
enamels  and  gilding  on  the  wares  of  the  second  period,  and  the 
frequent  occurrence  of  large,  circular,  unglazed  places  on  the  bases 
of  vessels.  Some  of  the  tall  enameled  jugs,  or  cruches,  however, 
which  have  come  to  our  notice,  show  the  wire  markings  which  dis- 
tinguish the  Frechen  Bartmanns,  but  the  grooves  are  finer  and 
closer  together. 

5.  GRENZHAUSEN. 

At  Grenzhausen  and  Hohr,  near  Coblentz,  a grey  clay  was  used 
in  the  manufacture  of  salt  glazed  stoneware  during  the  seventeenth, 
eighteenth  and  nineteenth  centuries.  The  earlier  wares  reveal  the 
influence  of  the  Raeren  potters.  Later,  a more  original  style  was 
developed,  in  which  free-hand  incised  designs  were  combined  with 
moulded  ornaments,  and  cobalt  blue  and  manganese  purple  or 
brown  enamels, — colors  which  will  stand  the  high  temperature  to 


9.  Brown  Stoneware  Mug  (5%  inches  in  height). 

Decorated  with  Colored  Enamels.  Kreussen,  Bavaria,  Seventeenth  Century. 
Museum  No.  ’05-237. 


10. 11,12.  Brown  Stoneware  Mugs  and  Jug  (Central  Jug  10  inches  in  height). 
Decorated  with  Colored  Enamels.  Kreussen,  Bavaria,  Seventeenth  Century. 
Museum  Nos.  '82-33*,  '99-470,  '82-340. 


13 


which  the  ware  is  exposed, — were,  and  still  are,  employed.  These 
are  most  effectively  used  in  the  very  distinctive  style  of  work 
known  as  champlev6,  where  the  patterns  are  dug  out  and  filled  in 
with  the  colored  glazes  (see  Nos.  13  and  14).  Jugs  with  crowned 
monograms  of  German  and  English  sovereigns,  pilgrim  bottles, 
mugs  of  an  infinite  variety  of  forms,  bottles  with  numerous  flat 
or  fasceted  surfaces,  salt  cellars,  inkstands,  figures  of  animals,  an- 
nular vases  and  harvest  bottles,  are  only  a few  of  the  forms  which 
have  been  made  in  these  places.  A profusion  of  moulded  orna- 
ments, applied  in  all  sorts  of  combinations,  often  covers  the  entire 
surface.  A mug  of  grey  body  and  dark-blue  coloring,  with  mounted 
knights  in  relief,  and  a “ Works  of  Mercy  ” flagon,  in  the  Raeren 
style,  are  two  specimens  of  Grenzhausen  stoneware  of  the  eigh- 
teenth century,  in  the  Museum  collection  (see  Nos.  15  and  17),  and 
in  No.  18  we  see  a good  example  of  the  G.  R.  ( Georgius  Rex)  jug, 
which  was  later  copied  in  England. 

A variety  of  Grenzhausen  ware  is  composed  of  white  clay,  re- 
sembling that  of  Siegburg,  embellished  with  incised  designs  and 
relief  ornaments.  Flowers,  leaves  and  other  details  were  produced 
by  placing  on  the  surface  of  the  ware  small  hats  of  clay  and  press- 
ing them  with  engraved  stamps,  and  then  carefully  removing  the 
excess  of  clay  around  the  edges,  instead  of  first  moulding  the  or- 
naments and  attaching  them  separately,  as  was  done  at  other 
places.  The  stems  were  then  traced  in  the  clay  with  an  instrument 
possessing  four  or  five  parallel  points  (see  No.  16). 

Many  of  the  modern  pieces  made  at  Grenzhausen  and  Hohr 
are  reproductions  of  the  characteristic  earlier  forms  of  other  places. 
As  such  pieces,  however,  are  usually  made  of  the  bluish-grey  clay 
instead  of  the  white  and  brown  clays  of  the  originals,  and  are  col- 
ored with  blue  and  purple  enamels  in  the  Grenzhausen  manner, 
they  cannot  properly  be  classed  among  forgeries.  The  most  popu- 
lar forms  imitated  are  the  tall  cannettes  of  Siegburg  and  the 
Peasants’  Dance  jugs  of  Raeren. 

The  chief  characteristics  of  Grenzhausen  stoneware  are  a grey 
or  bluish-grey  tint  of  the  body  and  a heavy,  brilliant  salt  glaze ; 
the  peculiar  decoration, — a combination  of  incuse,  or  sunken,  and 
incised  ornaments  and  moulded  reliefs ; the  use  of  cobalt  blue, 
purple  and  brown  enamels.  Marks  seldom  appear  on  Grenzhausen 
ware.  Handles  were  generally  recurved  or  curled  up  at  the  lower 
ends,  frequently  forming  loops,  through  which  cords  could  be 


14 


passed  for  suspension  (see  No.  15).  The  blue  enamel  of  the  older 
ware  is  blacker  than  that  of  the  modern,  and  the  body  is  of  a more 
yellowish-grey  tint  than  that  of  the  recent  productions. 

6.  BOUFFIOUX. 

Pottery  is  known  to  have  been  made  in  Bouffioux  and  the  adja- 
cent villages  of  Pont-de-Loup  and  Chatelet  (now  in  the  territory 
of  Belgium)  at  an  early  period,  but  it  was  not  until  near  the  end 
of  the  sixteenth  century  that  the  manufacture  of  stoneware  was 
firmly  established  in  that  district.  The  earlier  ware  was  a brown 
stoneware  of  good  body  and  glaze,  imitating  the  products  of  Raeren 
and  Frechen,  but  much  inferior  in  quality  of  decoration.  At  a 
later  date  the  grey  and  blue  stoneware  of  Grenzhausen  was  imi- 
tated here,  and  continued  to  be  manufactured  extensively  until  the 
beginning  of  the  nineteenth  century.  The  products  were  the 
coarser  varieties  of  ware,  such  as  beer  jugs,  traveling  bottles,  water 
barrels,  large  Bartmanns  used  for  holding  oils,  acids,  drugs,  etc., 
and  kitchen  utensils. 

Quantities  of  Bouffioux  stoneware  have  been  dug  up  in  the 
vicinity  of  London,  England.  A fine  example,  in  the  Museum  col- 
lection, is  eight  inches  in  height,  and  has  a handle  which,  at  the 
lower  extremity,  is  extended  into  a long  point  below  the  thumb, 
pressed  indentation,  like  a lizard’s  tail,  and  bears  on  the  base  the 
concentric  grooves  of  the  cutting  wire  (see  No.  6).  It  was  brought 
to  this  country  from  Ireland  many  years  ago.  The  illustration 
facing  the  title  page  represents  a large  Greybeard  or  Bartmann  of 
primitive  form  and  crude  decoration,  which  may  be  seen  in  the 
collection  of  this  Museum. 

Occasionally  marks,  initials  or  names  of  makers  are  found  on 
pieces  of  Bouffioux  ware,  but  the  characteristic  mark  of  merchants, 
resembling  the  figure  4,  so  frequently  found  on  Raeren  ware,  does 
not  occur  on  the  Bouffioux  products.  The  decoration  usually  con- 
sists of  a single  conventionalized  and  meaningless  medallion,  or  of 
an  occasional  grotesque  mask,  in  the  Frechen  style. 

OTHER  CONTINENTAL  STONEWARE  CENTRES. 

Previous  to  the  middle  of  the  seventeenth  century  Flanders  in- 
cluded a part  of  the  present  territory  of  Holland  and  the  depart- 
ments of  Nord  and  Pas-de-Calais,  now  belonging  to  France.  Stone- 
ware was  produced  extensively  at  numerous  places  of  less  im- 


13.  Grey  Stoneware  Mug  (5%  inches  in  height). 

Moulded  and  Incised  Decoration.  Museum  No.  F,  444. 

14.  Grey  Stoneware  Jug  (8  inches  in  height). 

Champlevd  Style,  Blue  and  Claret  Enamel.  Grenzhausen,  Eighteenth  Century. 
Museum  No.  '76-859. 


15.  Grey  Stoneware  Mug  (5  inches). 
Moulded  Decoration.  Grenzhausen,  Eighteenth 
Century.  Museum  No.  '05-240. 


16.  White  Stoneware  Mug  (8J4  inches 
in  height). 

Stamped  and  Incised  Decoration. 
Grenzhausen,  about  1750.  Museum  No. 
*76-856. 


17.  Grf.y  Stoneware  Jug  (11*4  inches  in  height). 

Works  of  Mercy,”  Raeren  Style.  Grenzhausen,  Eighteenth  Century. 
Museum  No.  ’05-241. 


18.  Grey  Stoneware  Tankard  (10*4  inches  in  height). 

Moulded,  Incised  and  Blue  Enamel  I'ecorations.  Grenzhausen,  Eighteenth  Century. 
Museum  No.  '06-210. 


15 


portance  in  Germany  and  in  the  Low  Countries.  These  produc- 
tions, being  in  the  styles  of  those  of  Raeren,  Frechen  or  Grenz- 
hausen,  need  not  be  reviewed  here. 

II.  SALT  GLAZED  WARES  OF  ENGLAND. 

The  salt  glazed  stonewares  of  England  may  be  divided  into 
three  classes : — 

1.  Early  Brown  Ware  (Fulham  and  Nottingham). 

2.  White  Salt  Glaze  Ware  (Staffordshire). 

3.  Modern  Brown  Ware  (Lambeth). 

i.  FULHAM  AND  NOTTINGHAM. 

The  earliest  English  stoneware  was  known  as  “ Crouch  ware.” 
Mr.  M.  L.  Solon,  in  The  Art  of  the  Old  English  Potter , asserts  that  the 
term  was  derived  from  the  name  of  the  white  Derbyshire  clay, 
while  Mr.  William  Turner,  in  the  Connoisseur  of  January,  1905, 
suggests,  with  some  degree  of  plausibility,  that  it  may  be  a corrup- 
tion of  Crich,  the  name  of  a town  in  Derbyshire  where  “ Crouch 
ware  ” was  produced  at  an  early  date.  The  oldest  English  salt 
glazed  stoneware  is  a close  imitation  of  the  Frechen  brown  ware, 
being  distinguished  by  its  very  conspicuous  accumulation  of  the 
glaze,  or  granulation  in  minute  drops.  Previous  to  the  beginning 
of  the  manufacture  in  England  large  quantities  of  white  and 
brown  stoneware  from  the  Rhenish  potteries  found  their  way  into 
the  London  market,  and  it  is  often  difficult  to  distinguish  these 
from  the  Fulham  productions. 

It  has  not  been  clearly  established  who  first  introduced  the  use 
of  salt  glaze  into  England.  Numerous  writers  have  repeated,  with- 
out question,  the  story  of  its  accidental  discovery  in  the  year  1680 
by  a servant  who,  while  boiling  salt  in  an  earthern  vessel,  was 
called  away,  and  on  her  return  discovered  that,  the  brine  having 
overflowed,  the  outside  of  the  pot  was  partially  glazed.  Mr.  Solon 
and  others  have,  however,  effectually  disposed  of  this  tradition  by 
pointing  out  the  fact  that  it  is  a chemical  impossibility  to  produce 
salt  glaze  under  such  conditions. 

To  the  Elers  brothers  other  historians  have  accredited  the  inven- 
tion, about  1690,  but  in  the  light  of  recent  discoveries  it  is  now 
generally  conceded  that  glazing  with  salt  had  been  practiced  in 
England  before  the  arrival  of  these  potters  in  Staffordshire. 


16 


John  Dwight,  of  Fulham,  took  out  a patent  in  1671  for  his  dis- 
covery of  the  “ mysteries  of  the  Cologne  ware.”  Few  pieces  of  his 
work  are  known,  but  those  which  have  survived  are  of  the  highest 
merit.  He  executed  a series  of  statuettes  which  rank  with  the 
best  works  of  the  kind  ever  produced.  Among  these  may  be  men- 
tioned the  figures  of  Jupiter,  Mars,  Meleager  and  Saturn,  colored 
in  imitation  of  fine  bronze,  and  busts  of  Prince  Rupert,  James  II, 
Mrs.  Pepys  and  an  effigy  of  his  deceased  daughter,  Lydia  Dwight, 
in  lighter  colored  clay,  which  are  preserved  in  some  of  the  princi- 
pal museums  of  England. 

After  Dwight’s  time  the  Fulham  works  were  continued,  and  op- 
erated until  a recent  date.  Here  were  made  mugs,  tankards,  jugs, 
Bellarmines  and  beer  bottles,  bearing  the  medallions  and  initials 
of  English  rulers.  Dated  examples  have  been  found,  ranging 
from  1721  to  1764,  some  of  the  popular  subjects,  in  relief  decora- 
tion, being  hunting  scenes,  the  head  of  Queen  Anne,  St.  George 
and  the  Dragon,  and  “ Hogarth’s  Midnight  Modern  Conversation.” 

Grey  stoneware  jugs  of  spherical  form,  and  cylindrical  drinking 
mugs,  of  the  eighteenth  century,  with  stamped  and  incised  deco- 
rations and  blue  enamel  ornaments,  have  been  found  in  consider- 
able numbers  in  certain  localities,  particularly  in  the  New  England 
States.  Many  of  these  bear  the  impressed  letters  G.  R.  (Georgius 
Rex)  beneath  a crown.  Although  this  w'are  bears  a close  resem- 
blance, in  color,  shapes  and  decorative  features,  to  the  Grenzhausen 
productions  of  the  same  period,  it  has  always  been  known  to 
American  collectors  as  Fulham  stoneware.  There  is  one  particular 
in  which  it  appears  to  differ  from  its  German  prototype,  that  is 
the  manner  in  which  the  handles  are  attached.  In  the  Grenzhausen 
pieces  the  base  of  the  handle  usually  terminates  in  an  outward  and 
upward  curl,  while  the  majority  of  the  specimens  which  have  come 
under  our  notice,  that  were  brought  to  this  country  by  the  early 
settlers,  possess  a handle  which  is  pointed  at  the  lower  end  where 
it  joins  the  body.  That  such  pieces  were  brought  from  England 
has  been  clearly  proved,  but  whether  they  are  of  English  origin 
or  German  importation  is  still  an  unsettled  question.  Mr.  William 
Burton,  in  his  English  Earthenware  and  Stoneware , states  that  “ We 
have  further  information  as  to  the  wares  made  by  Dwight’s  suc- 
cessors from  what  is  known  of  the  Fulham  trouvaille , found  in  1866. 
While  some  repairs  were  being  carried  out  at  the  works  a forgotten 
chamber  was  broken  into,  which  was  found  to  contain  a heap  of 


19,  20.  Grey  Stoneware  Jug  and  Mug. 

Moulded,  Incised  and  Klue  Enamel  Decorations. 

Germany,  Eighteenth  Century.  Wadsworth  Athenseum,  Hartford,  Conn. 


21,22.23.  White  Sai.t  Glaze  Plates  (Hand  14  inches). 
Staffordshire,  about  1730. 

Museum  N'os.  '82-760,  '82-1416,  '04-131. 


17 


stoneware  vessels  and  fragments  of  various  types  and  dates,  long 
walled  up  and  forgotten.  Most  of  these  specimens  were  in  the  shape 
of  common  ale  jugs  or  wine  bottles,  and  so  similar  were  they  in  ma- 
terial, shape  and  decoration  to  the  pieces  we  know  to  have  been  im- 
ported from  Cologne,  that  but  for  this  find  we  should  have  been  in 
doubt  if  such  pieces  were  of  German  or  of  English  make.  In  addi- 
tion to  these  were  many  round-bellied  grey  jugs,  with  scratched  and 
stamped  ornaments  and  patches  of  cobalt  blue  and  manganese 
purple  used  as  grounds.  Several  of  the  latter  kind  had  the  mono- 
grams of  English  sovereigns,  with  a crown  above,  stamped  on  the 
front,  and  thus  give  us  a definite  place  of  origin  for  some  of  the 
well-known  pieces  of  this  description.”  Mr.  Solon,  in  his  Cata- 
logue of  a Small  Collection  of  Salt  Glaze  Ware  (Hanley,  England, 
1890),  asserts  that  “ The  Fulham  Ware,  having  never  been  marked, 
and  being  often  the  mere  reproduction  of  the  types  imported  from 
Flanders  and  Germany,  identification  rests  in  most  cases  on  mere 
speculation.”  Some  good  examples  of  this  ware  are  to  be  seen  in 
the  Fuller  and  Terry  collections  of  the  Wadsworth  Athenaeum, 
Hartford,  Connecticut  (see  Nos.  19  and  20).  Photographs  of  these 
two  pieces  were  sent  to  Mr.  Solon  for  identification,  and  he  has  ex- 
pressed his  opinion  that  they  are  not  of  English  manufacture,  but 
Flemish  or  German  importations  of  the  second  half  of  the  eigh- 
teenth century.  “ I never  saw  any  example  of  the  kind,”  he  writes, 
“ that  had  been  attributed  to  an  English  potter.”  It  will  thus  be 
seen  that  the  best  authorities  differ  in  regard  to  the  origin  of  this 
class  of  ware. 

At  Nottingham,  stoneware  was  first  produced  at  the  beginning 
of  the  eighteenth  century.  It  is  thin  in  substance,  wrell  potted  and 
graceful  in  form,  but  crudely  decorated  with  simple  designs,  the 
prevailing  subjects  being  scrolls,  flowers  and  foliage,  and  frequently 
inscriptions,  scratched  in  the  clay  while  wet.  The  glaze  is  of  a 
bright,  red-brown  tint,  with  a somewhat  metallic  lustre,  caused  by 
a thin  wash  of  ferruginous  clay.  The  surface  of  the  ware  is  much 
smoother  and  less  granular  than  that  of  Germany  and  Flanders. 
Most  characteristic  in  form  are  the  mugs,  pitchers  or  jugs,  with 
ribbed  or  horizontally  corrugated  necks,  two-handled  cups,  and 
the  celebrated  “ bear  jugs,”  the  latter  being  made  in  the  form  of  a 
bear,  covered  with  shavings  of  clay  to  produce  a rough  appearance, 
the  head  being  detachable  to  serve  as  a drinking  cup,  while  the 
body  answers  as  a receptacle  for  the  beverage. 


18 


At  Brampton,  Chesterfield  and  Swinton  brown  stoneware  was 
produced  in  the  eighteenth  century,  which  closely  resembles  the 
Nottingham  ware,  but  is  thicker  and  clumsier,  and  not  so  well 
finished. 

2.  STAFFORDSHIRE. 

The  term  “salt  glaze”  has  been  applied  to  an  English  product, 
a true  stoneware  of  white  body,  thin  and  graceful  in  appearance, 
so  highly  fired  as  to  be  translucent  in  its  thinnest  parts,  covered 
with  an  exceedingly  hard  saline  glaze,  which  first  appeared  in 
Staffordshire  near  the  close  of  the  seventeenth  century.  Thomas 
Miles,  of  Shelton,  produced  a white  stoneware  as  early  as  1685. 
Prof.  A.  H.  Church  has  divided  the  manufacture  of  white  salt 
glaze  ware  into  four  periods,  approximating  twenty  years  each,  as 
follows : — 

Previous  to  1720,  Archaic  period,  when  impressed  and  applied 
ornaments  were  used  on  thrown  or  turned  vessels. 

From  1720  to  1740,  when  flint  was  added  to  the  body,  the  work 
being  fine  and  sharp. 

From  1740  to  1760,  when  colored  enamels  were  employed  for 
decorating  the  surface. 

From  1760  to  1780,  when  basket  and  pierced  work  were  preva- 
lent. 

The  productions  of  the  first  of  these  periods  were  embellished 
with  ornaments  impressed  or  stamped  in  the  clay,  or  separately 
moulded  and  afterwards  applied  to  the  surface.  The  ground  of 
the  ware  was  drab  colored  or  white. 

The  ware  of  the  second  period  was  formed  by  stamping  or  press- 
ing in  metal  dies,  or  by  the  casting  process,  which  consisted  in 
pouring  liquid  clay  or  slip  into  baked  clay  or  plaster  moulds  in 
which  the  decorative  designs  had  been  previously  engraved.  This 
method  insured  thinness  of  substance  and  delicacy  and  sharpness 
of  relief. 

Numerous  potteries  throughout  the  Staffordshire  district  began 
the  manufacture  of  this  beautiful  and  purely  English  invention, 
which  soon  began  to  be  exported  in  considerable  quantities  to  Hol- 
land and  other  European  countries  and  to  America.  Teapots, 
tea  caddies  and  many-sided  vessels  were  produced  in  an  endless 
variety  of  forms,  in  imitation  of  various  animals,  such  as  camels, 
squirrels,  bears,  cats  or  representations  of  houses. 

Conventional  forms  were  ornamented  with  fan  and  shell-shaped 


24.  White  Sai.t  Glaze  Cup. 

Scratched  Blue  Decoration.  Staffordshire,  about  1770. 
Owned  by  Mr.  W.  L.  Calver. 


25.  White  Salt  Glaze  Sauce  Boat  (3%  inches  in  height). 
Staffordshire,  about  1750. 

Museum  No.  ’82-1439. 


26,27.  White  Salt  Glaze  Tea  Pot  and  Cream  Jug. 
Decoration  in  Enamel  Colors.  Staffordshire,  about  1770. 
Wadsworth  Athenaeum,  Hartford,  Conn. 


28,29.  White  Salt  Glaze  Dishes  (9  and  10  inches). 
Staffordshire,  about  1780. 

Museum  Nos.  ’82-1117,  '82-1418. 


19 


reliefs,  scrolls,  floral  patterns  and  delicate  traceries.  Bottles,  vases 
and  jars  were  beautified  by  floral  sprays,  rosettes,  armorial  bear- 
ings, masks  and  convolute  ornaments,  while  plates,  tea  cups,  dishes 
and  trays  of  various  graceful  forms  were  bordered,  and  often  en- 
tirely covered,  with  panels  and  alternating  medallions  of  hatched, 
diapered,  trellised  and  starred  ornamentation.  During  this  period 
and  the  preceding,  no  color  was  used  to  relieve  the  pure  wdiiteness 
of  the  ware  (see  Nos.  21,  22,  23  and  25). 

In  the  third  period,  color  was  first  added  to  the  decoration. 
Patterns  were  scratched  in  the  unbaked  clay,  into  which  the  blue 
color  was  rubbed  before  firing.  This  style  of  ornamentation  was 
known  as  “ scratched  blue  ” (see  No.  24).  Pieces  of  this  descrip- 
tion frequently  bore  inscriptions  and  dates  ranging  from  1750  to 
1780.  Between  1740  and  1750  William  Littler,  of  near  Burslem, 
produced  some  most  beautiful  and  effective  pieces  of  salt  glaze 
with  a solid,  deep  blue  ground,  by  dipping  them,  while  still  in  a 
partially  dried  clay  state,  into  a slip  of  the  same  ingredients,  to 
which  blue  color  had  been  added,  which  were  afterwards  fired  in 
the  salt  glaze  oven.  Some  of  these  pieces  were  painted  with  de- 
signs in  raised  white  enamel,  in  the  Persian  style  of  the  stannif- 
erous faience  of  Nevers,  France.  These  decorations  were  fixed  by 
a second  firing  at  a lower  temperature.  Another  style  of  decora- 
tion, largely  employed  between  1740  and  1760,  was  the  painting  on 
the  glaze  in  enamel  colors.  Human  figures,  Chinese  scenes,  birds 
and  flowers  were  added  in  polychrome  (see  Nos.  26  and  27).  To- 
ward 1750,  pressing  in  plaster  moulds  came  into  vogue,  whereby 
it  became  possible  to  produce  large  pieces,  such  as  platters  and 
tureens.  Entire  table  services  were  made  by  this  method.  Some 
of  the  later  pieces  were  covered  with  tinted  grounds, — red,  purple 
and  turquoise  blue, — in  which  small  panels  of  various  patterns 
were  reserved  in  white,  to  receive  the  polychrome  paintings. 
About  1755,  soon  after  the  invention  of  transfer  printing,  that  pro- 
cess was  applied  to  salt  glaze  decoration  to  a considerable  extent. 
During  the  third  period  the  art  of  making  salt  glaze  ware  had 
reached  its  highest  development. 

The  fourth  period  marked  the  decadence  of  the  art.  Pierced 
and  basket  designs,  in  combination  with  embossed  work  (see  Nos. 
28  and  29),  were  the  principal  features  of  this  epoch.  Aaron  Wood 
and  other  potters  modeled  patterns  with  basket  work  centres  and 
perforated  borders.  About  1780,  after  the  introduction  of  cream 


20 


ware  and  porcelain,  the  manufacture  of  salt  glaze  began  to  decline 
rapidly,  although  it  continued  to  be  made  at  a few  establishments 
until  after  the  beginning  of  the  nineteenth  century. 

While  the  greater  portion  of  white  salt  glaze  was  produced  in 
Staffordshire,  it  was  also  made  to  a limited  extent  at  Liverpool, 
Jackfield,  Leeds  and  a few  other  places. 

3.  LAMBETH. 

Stoneware  was  first  produced  at  Lambeth  about  1751.  The  ware 
is  usually  colored  a rich  reddish-brown  above,  while  the  lower  por- 
tion is  of  a buff  or  yellowish  hue,  presenting  the  appearance  of 
having  had  the  upper  half  covered  with  a darker  surface  wash. 
The  form  of  the  Lambeth  jugs,  like  those  of  John  Turner  and  Wil- 
liam Adams,  of  the  early  nineteenth  century,  is  characteristic. 
From  a spherical  body  rises  a broad,  perpendicular  collar,  the 
upper  edge  of  which  has  been  pinched  or  bent  out  in  front  to  form 
a small  triangular  lip.  Handles  frequently  terminated  in  a 
moulded  ornament  or  were  fixed  with  a modeled  leaf.  Two  ex- 
amples of  this  form,  of  about  1820,  in  the  Museum  collection,  are 
embellished  with  moulded  hunting  scenes  and  separately  applied 
figures  of  men,  monkies  and  dogs.  One  of  these  has  a handle 
which  has  apparently  been  attached  by  means  of  two  stoneware 
screws,  a method  which  obtained  in  some  of  the  English  potteries 
at  that  time  (see  No.  30). 

Mr.  John  Doulton  was  apprenticed  at  the  beginning  of  the  nine- 
teenth century  at  the  old  Fulham  wTorks  of  White,  the  celebrated 
potter,  and  after  serving  his  time  he  went  to  Lambeth,  where,  in 
the  year  1815,  he  established,  in  conjunction  with  Mr.  John  Watts, 
a small  stoneware  pottery  in  Vauxhall  Walk.  In  1826  they  moved 
the  works  to  High  Street,  where  the  plant  was  rapidly  enlarged  as 
the  business  steadily  increased. 

The  Doulton  ware,  which  has  in  recent  years  become  so  cele- 
brated, is  an  English  revival  of  the  brown  stoneware  of  Germany 
and  Flanders.  The  most  characteristic,  and  certainly  the  most 
thoroughly  artistic,  style  of  decoration  practised  by  the  Doultons 
is  that  revealed  in  the  designs  scratched  on  the  plain  wet  surface 
of  the  ware.  Among  the  best  artists  in  this  line  of  work  is  Miss 
Hannah  B.  Barlow,  w'hose  etchings  of  animals  were  first  seen  in 
this  country  at  the  Philadelphia  Centennial  Exposition  in  1876. 
Since  then  her  work  has  become  familiar  to  all  lovers  of  art  on 


! 


i.  Brown  Stoneware  Jug  (7  inches  in  height).  31  doui.ton  Art  Stoneware  Vase  (13  inches  in  height). 

Lambeth,  England,  about  1820.  Etched  by  Miss  Hannah  B.  Barlow,  Lambeth,  1870. 

Lent  by  Mr.  Edward  Russell  Jones.  Museum  No.  ’97-509. 


21 


this  side  of  the  Atlantic.  Her  spirited  renderings  of  horses,  dogs, 
sheep  and  rustic  life,  in  the  fewest  possible  lines,  are  truly  remark- 
able, and  she  has  been  placed  by  competent  critics  next  to  Rosa 
Bonheur  as  a delineator  of  animal  life.  Among  other  celebrated 
ceramic  artists  who  have  been  employed  at  the  Lambeth  works 
may  be  mentioned  Mr.  George  Tinworth,  Mr.  Arthur  B.  Barlow, 
Miss  Florence  Barlow  and  Mr.  Frank  A.  Butler. 

The  Doulton  art  stoneware  reveals  a combination  of  several 
processes.  Surrounding  the  zones  or  panels  of  scratched  decora- 
tions, which  are  covered  with  salt  glaze,  are  bands  of  colored 
enamels,  outlined  and  carved  designs  and  bossed  or  jeweled  work. 
In  the  Museum  collections  are  many  fine  examples  of  the  best 
products  of  this  factory,  the  majority  of  which  were  purchased  at 
the  Centennial  Exhibition,  while  others  are  of  a more  recent  date. 
In  this  collection,  Miss  Hannah  B.  Barlow  and  Mr.  George  Tin- 
worth  are  well  represented  (see  No.  31).  A pair  of  large  modeled 
and  jeweled  garden  vases,  four  feet  in  height,  are  perhaps  the  most 
elaborate  and  striking  pieces  in  the  collection. 

III.  STONEWARE  OF  THE  UNITED  STATES. 

Previous  to  the  establishment  of  stoneware  potteries  in  the 
American  colonies,  some  of  the  earlier  German  and  English  set- 
tlers brought  with  them  to  this  country  utensils  of  salt  glazed 
earthenware,  some  of  which  were  used  in  barter  with  the  Indians, 
and  a few  of  these  have  been  found  in  aboriginal  graves.  In  Lan- 
caster County,  Pa.,  a brown  stoneware  Bellarmine  jug,  eight  inches 
in  height,  of  the  Frechen  type,  has  been  taken  from  a Conestoga 
Indian  grave  of  the  period  of  about  1750,  having  been  brought  to 
this  country  during  the  German  immigration.  Similar  examples 
have  been  found  with  native  remains  in  New  York  State,  one  of 
which  is  in  the  possession  of  Mr.  S.  L.  Frey,  of  Palatine  Bridge, 
N.  Y.  This  is  a large  one-handled  cup  of  grey  stoneware,  embel- 
lished with  figures  of  animals  in  blue,  a curious  example  of  Grenz- 
hausen  ware,  belonging  to  the  latter  half  of  the  seventeenth  cen- 
tury. 

A two-handled  cup,  of  English  white  salt  glaze,  of  the  eighteenth 
century,  was  obtained  from  a burial  place  in  the  same  State. 

Mr.  W.  L.  Calver,  who  has  investigated  the  sites  of  Revolution- 
ary encampments  in  the  vicinity  of  New  York  City,  has  found  nu- 
merous fragments  of  plain  white  salt  glaze  and  scratch  blue  ware 


22 


among  the  debris  of  English  military  camps  of  about  1780,  together 
with  many  white  clay  pipe  bowls,  bits  of  vessels  of  Leeds  cream- 
ware,  black  basalte  ware  of  Wedgwood  and  other  English  pottery 
of  that  period.  The  white  salt  glaze  pieces  are  exceedingly  thin 
and  even  in  body,  and  were  evidently  made  by  the  casting  process. 
The  fragments  of  scratch  blue  ware  are  rudely  incised  with  con- 
ventional floral  designs  and  “ herring-bone  ” borders  of  a pale  pur- 
plish blue  color  (see  No.  24). 

Salt  glazed  stoneware  has  been  made  in  America  since  early  in 
the  eighteenth  century.  The  first  products  were  of  a rude  and  sim- 
ple character,  in  the  forms  of  crocks  and  jars  and  other  utilitarian 
articles,  entirely  devoid  of  ornamentation  save  an  occasional  dash 
of  blue  or,  in  exceptional  cases,  a few  roughly  incised  ornaments. 
John  Remmey,  a German,  established  a pottery  in  New  York  City 
about  1735.  His  works  were  situated  at  Potter’s  Hill,  near  the  old 
City  Hall.  On  a map  showing  the  plan  of  New  York  City  in  1742, 
the  pottery  of  Remmey  & Crolius  is  marked.  At  a later  date,  John 
Remmey  having  died  in  1762,  the  second  partner,  or  possibly  his 
son,  appears  to  have  carried  on  the  business  alone,  as  is  indicated 
by  a stoneware  jug  eleven  inches  in  height,  with  two  loop  handles 
and  a spout.  The  ware  is  of  a rich  brown  color,  with  stamped  and 
cobalt  blue  decorations.  On  the  back  is  the  inscription : — 

New  York,  Feby  17th  1798 
Flowered  by 
Mr.  Clarkson  Crolius. 

Around  the  spout  is  a conventional  design  of  leaves  and  flowers  in 
blue,  while  similar  embellishments  adorn  the  body  above  the  in- 
scription (see  No.  34).  This  pottery  continued  in  operation  until 
about  1820. 

Late  in  the  eighteenth,  or  early  in  the  nineteenth,  century  Paul 
Cushman  began  the  manufacture  of  salt  glazed  stoneware  near  Al- 
bany, N.  Y.  Numerous  examples  of  his  tvork  have  survived,  sev- 
eral of  them  bearing  the  date  1809.  The  body  is  of  a brownish 
tint  and  the  decorations,  which  are  usually  scanty,  are  in  cobalt 
blue.  In  many  instances  the  name  of  the  maker  is  scratched  on 
the  sides  of  jars,  and  occasionally  inscriptions  are  found  (see 
No.  32). 

Other  stoneware  potteries  were  in  operation  in  the  United  States 
previous  to  the  nineteenth  century.  At  Norwalk,  Ct.,  salt  glazed 


Bkown  Stonkwarf,  Jar  (13%  inches  in  height).  33.  Grey  Stoneware  Fountain  (2  feet  in  height).  34.  Brown  Stoneware  Jug  (11  inches). 

Cobalt  Blue  Decoration.  Modeled,  Incised  and  Blue  Enamel  Decoration.  Cobalt  Blue  Decoration. 

Made  by  Paul  Cushman,  Albany,  X.  Y.,  1809.  Made  by  Solomon  Bell,  Strasburg,  Va.,  about  1845.  Crolius  Pottery.  New  York,  1798. 

Museum  No.  ’01-«.  Museum  No.  'OG-93.  Owned  by  Mrs.  L.  B.  Caswell,  Jr. 


23 


ware  was  being  produced  in  1780.  At  Morgantown,  W.  Va.,  and 
Huntington,  N.  Y.,grey  stoneware  with  blue  decorations  was  made 
about  1800.  John  and  William  Norton,  at  Bennington,  Vt.,  were 
turning  out  stoneware  about  the  same  time,  while  at  Norwich,  Ct, 
similar  ware  was  manufactured  a few  years  earlier.  At  Utica, 
N.  Y.,  a pale  greyish  stoneware  has  been  made,  in  decorated  utili- 
tarian forms,  since  about  1820. 

The  Pennsylvania  Society  for  the  Encouragement  of  Manufac- 
tures and  the  Useful  Arts  published  the  following  advertisement 
in  the  New  Jersey  Journal , at  Elizabethtown,  in  its  issue  of  January 
25,  1792 : — 

“ 1. — To  such  person  as  shall  exhibit  the  best  specimen  of  Earth- 
enware or  Pottery,  approaching  nearest  to  Queensware,  or  the  Not- 
tingham or  Delf  ware,  of  the  marketable  value  of  fifty  dollars — a 
plate  of  the  value  of  fifty  dollars,  or  an  equivalent  in  money. 

“ 2. — To  such  person  as  shall  exhibit  the  best  specimen  of  Stone- 
ware, or  that  kind  of  Earthenware  which  is  glazed  with  salt,  of  the 
value  of  fifty  dollars,  a plate  of  fifty  dollars’  value,  or  that  sum  in 
specie.” 

One  of  the  conditions  of  this  competition  was  that  the  ware 
should  be  made  in  Pennsylvania  or  New  Jersey.  We  are  not  ad- 
vised of  the  result  of  this  announcement. 

At  Strasburg,  Va.,  stoneware  potteries  were  in  operation  previ- 
ous to  the  beginning  of  the  nineteenth  century.  Solomon  and 
Samuel  Bell,  from  Hagerstown,  Md.,  established  a stoneware  pot- 
tery here  about  the  year  1842.  Among  the  best  pieces  produced 
during  the  early  years  of  this  factory  i6  a large  grey  salt  glazed 
stoneware  water  jug,  or  fountain,  with  handles  modeled  in  the 
semblance  of  coiled  serpents,  and  human  masks,  surrounded  by 
impressed  ornamental  patterns.  On  the  body  are  boldly  painted 
tulip  designs  in  rich  cobalt  blue,  and  the  stamped  mark  of  Solo- 
mon Bell  (see  No.  33).  The  pottery  is  still  operated  by  the  sons  of 
the  founders. 

Charles  Wingender  & Brother  are  among  the  few  potters  in  the 
United  States  who  continue  to  produce  the  old-fashioned  German 
grey  salt  glazed  ware  with  blue  and  purple  decorations.  They 
served  an  apprenticeship  in  the  potteries  of  Hohr,  near  Coblentz, 
and  their  productions  are  similar  to  the  wares  now  made  in  that 
section. 

Some  of  the  old  moulds  which  had  been  used  in  Germany 


24 


for  a century  or  more  are  still  in  use  at  their  establishment  in 
Haddonfield,  N.  J.,  while  many  of  their  best  designs  are  original. 
Their  beer  steins,  jardinieres,  pedestals  and  water  coolers  are  mod- 
eled after  the  old  German  forms,  and  compare  favorably,  both  in 
decoration  and  in  mechanical  execution,  with  the  modern  imported 
ware  of  a similar  nature.  One  of  the  most  elaborate  historical 
patterns  which  they  have  produced  is  a representation  of  the  bat- 
tle of  Teutoberg  Forest,  which  took  place  in  the  year  9 a.  d.,  in 
which  Quintilius  Varus  led  the  Roman  troops  against  the  Ger- 
mans, the  latter  being  victorious.  In  this  engagement  the  Roman 
army  was  completely  destroyed,  and  Varus  perished  by  falling  on 
his  own  sword.  This  spirited  rendering  was  originally  used  at  the 
Hohr  pottery,  but  has  been  remodeled  for  the  Haddonfield  fac- 
tory. 

It  was  reserved  for  a woman,  however,  to  breathe  the  breath  of 
artistic  life  into  the  body  of  American  stoneware,  and  under  her 
deft  touch,  guided  by  refined  instinct  and  inventive  genius,  the 
old  utilitarian  forms  were  converted  into  new  and  graceful  shapes, 
and  the  crude  blue  coloring,  which  served  for  ornamentation,  gave 
place  to  artistic  designs  in  relief,  always  significant,  harmonious 
and  thoroughly  appropriate.  The  honor  of  raising  the  humble 
manufacture  of  salt  glazed  ware  in  this  country  to  a place  beside 
the  finer  ceramic  arts  belongs  to  Mrs.  S.  S.  Frackelton,  formerly  of 
Milwaukee,  but  now  of  Chicago.  A fine  example  of  her  work  is 
a large  jar,  now  in  the  Museum  collection,  which  was  purchased 
at  the  Chicago  Exposition  in  1893.  It  is  two  and  a half  feet  in 
height,  of  the  ordinary  grey  color,  supported  by  winged  feline  feet 
and  ornamented  with  fruited  olive  branches  in  high  relief  and 
rich  blue  coloring. 

Salt  glazed  stoneware  is  manufactured  extensively  at  the  Charles 
Graham  Chemical  Pottery  Works,  Brooklyn,  N.  Y.  Mr.  Charles 
C.  Benham,  who  for  more  than  twenty-five  years  has  been  carving 
and  coloring  designs  in  this  body,  has  executed  many  beautiful 
pieces  at  these  works,  in  a style  not  attempted  elsewhere.  The  sur- 
face of  the  ware  is  carved  in  artistic  patterns  in  low  relief,  colored 
with  a rich,  deep  blue  and  covered  with  salt  glaze.  His  most  re- 
cent pieces,  such  as  drinking  mugs,  jugs  and  vases,  are  made  of 
fine  white  clay.  He  has  also  produced  some  large  panels  with 
painted  decorations  in  cobalt  color,  in  the  style  of  Holland  Delft. 

The  stoneware  of  the  United  States  shows  the  influence  of  the 


25 


Rhenish  potters.  The  imitation  of  the  white  salt  glaze  of  England 
was  never  attempted  in  this  country,  so  far  as  we  are  aware,  un- 
less, indeed,  it  should  hereafter  be  demonstrated  that  the  “ white 
and  chiney  ” ware  which  was  manufactured  at  Burlington,  N.  J., 
between  1685  and  1691,  by  the  agents  of  Dr.  Daniel  Coxe,  of  Lon- 
don, Proprietary  and  Governor  of  the  Provinces  of  East  and  West 
Jersey,  was  in  reality  similar  to  the  white  stoneware  produced  by 
Thomas  Miles,  of  Shelton,  England,  about  the  same  time.  It  is 
within  the  range  of  probability  that  this  first  American  white  ware 
was  glazed  with  salt,  but  thus  far  no  pieces  have  been  recognized. 
If  any  examples  have  survived  to  the  present  day,  they  must  be 
sought  for  in  the  islands  of  Jamaica  and  Barbadoes,  to  which 
points,  according  to  Dr.  Coxe’s  statements,  the  greater  portion  of 
the  output  was  shipped. 


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posjoui  ‘asnout  ‘sjaqaa  papddy 
•ijnjuoo 

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-ojj  pun  s[oainu9  paaopo  qi}A\ 
pojOAoo  ‘siuaimd  inouiatuoaS 
‘sauaos  8njiunq‘spnaq  ‘sansody 
jo  sjapaj  ‘popiaa  jawq  ‘asnq 
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sapsody  jo  sojnSy'sjaqaj  papday 
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. ...  — ,o'ia‘iBj‘niauog,saounp,siunsBotx 

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•padinuo  | \Ajui 

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INDEX, 


Adams,  William,  20 
Aix-la-Chapelle,  8 
Albany,  N.  Y.,  22 
Altenburg,  7 
Apostles,  11,  12 

Baluster  jugs,  7 
Barbadoes,  25 
Barlow,  Arthur  B.,  21 
Barlow,  Florence,  21 
Barlow,  Hannah  B.,  20 
Barrel-shaped  vessels,  11,  14 
Bartmann,  10,  11,  12,  14 
Base,  crimped,  7 

unglazed  circle,  1 1 
wire  marked,  10,  12 
Basket  work.  18,  19 
Bauerntanz-Kriige,  8 
Bear  jugs,  17 
Belgium,  14 

Bell,  Solomon  & Samuel,  23 
Bellarmine,  9,  10,  16,  21 
Benham,  Charles  C.,  24 
Bennington,  Vt.  ,23 
Biblical  subjects,  6,  7 
Blue  salt  glaze,  19 
Bonn,  6 

Bouffioux,  6,  14 
Brampton,  18 
Brooklyn,  N.  Y.,  24 
Brown  stoneware,  8-12,  14-17 
Burlington,  N.  J.,  25 
Burton,  William,  16 
Butler,  Frank  A.,  21 

Calver,  W.  L.,  21 

Cannettes,  6,  10,  13 

Cast  salt  glaze,  18 

Champlev£  decoration,  13 

Chatelet,  14 

Chesterfield,  18 

Chicago,  111.,  24 

Church,  Prof.  A.  H.,  18 

Coblentz,  12,  23 

Coin-like  medallions,  10 

Colopie,  6,  9,  16 

Continental  stoneware  centres,  14 

Coxe,  Dr.  Daniel,  25 

Crich,  Derbyshire,  15 


Crimped  foot,  7 
Crolius,  Clarkson,  22 
Crouch  ware,  15 
Cruche,  12 
Cushman,  Paul,  22 

Decorations,  champlev£,  13 

enamel  colors,  12,  13, 
18,  19 

incised,  12,  17,  19,  22 
incuse,  13 

moulded,  6,  11,  13,  19 
painted,  12,  13,  18,  19 
printed,  19 
scratched,  17,  19,  22 
sunken,  13 

Delft,  23,  24 
| Doulton,  John,  20 
Doulton  ware,  20 
Drug  jars,  11,  14 
Dwight  figures,  16 
Dwight,  John,  16 

Elers  Brothers,  15 
Enamel  colors,  12,  13,  18,  19 
England,  15-21 

Flanders,  5,  8,  14,  17,  20 
Frackelton,  Mrs.  S.  S.,  24 
France,  14 

Frechen,  6,  9,  10,  12,  14,  15,  21 
Frey,  S-  L.,  21 
Fulham,  15,  16,  17,  20 

Georgius  Rex,  13,  16 
Germany,  6-13,  17,  20 
Glaze,  blackish,  8 

freckled,,  9,  15 
granulated,  13,  15 
metallic,  8,  17 
red  brown,  8,  9,  17 
rusty  brown,  11,  12 
smooth  and  glossy,  8,  17 
thin  and  dry,  7,  11 
Graham,  Charles,  Works,  24 
: Grenzhausen,  6,  12-16,  21 

Gres  de  Flandres,  5 
Gres  Flamand,  5 

Grey  and  blue  stoneware,  12-14, 16, 17 


28 


Greybeard,  9,  10,  11,  14 
G.  R.  jugs,  13,  16 
Gustavus  Adolphus,  11 

Haddonfield,  X.  J.,  7,  23,  24 
Hagerstown,  Md.,  23 
Handles,  lizard’s  tail,  14 
recurved,  13 
Hohr,  12,  13,  23 
Holland,  14,  18,  24 
Huntington,  X.  Y.,  23 

Ireland,  14 

Jackfield,  20 
Jamaica,  25 
Jewitt,  Llewellynn,  10 

Kreussen,  6,  11,  12 

Lambeth,  15,  20,  21 
Leeds,  20,  22 
Limburg,  8 
Littler,  William,  19 
Liverpool,  20 
London,  England,  14 
Low  Countries,  6,  10,  15 

Marks,  9,  14 

Medallions,  coin-like,  10 
Metal  dies,  18 
Miles,  Thomas,  18,  25 
Milwaukee,  Wis.,  24 
Monograms  of  rulers,  13,  16,  17 
Morgantown,  W.  Va.,  23 
Moulded  salt  glaze,  19 
Mourning  jugs,  12 

Xevers,  France,  19 
Xew  York,  X.  Y.,  22 
Xorton,  John  and  William,  23 
Xorwalk,  Ct.,  22 
Xorwich,  Ct.,  23 

Xottingham,  England,  15,  17,  18,  23 

Peasants’  dance  jugs,  8,  9,  13 
Persian  style,  19 
Pewter,  7 

Pierced  designs,  18,  19 
Plaster  moulds,  19 
Pont-de-Loup,  14 
Printed  decoration,  19 


Queen  Anne,  16 
Queensware,  23 

Raeren,  6,  8,  9,  13,  14,  15 
Recapitulation  of  features,  26 
Remmey  and  Crolius,  22 
Remmev,  John,  22 

Salt  glaze,  blue  ground,  19 

brown,  8-12,  14-17,  22 
cast,  18 

enameled,  12,  13,  18,  19 
grey,  12,  13,  14,  16,  17 
moulded,  19 
painted  (see  Enameled). 
printed,  19 

scratched  blue,  19,  21,  22 
tinted  grounds,  19 
white,  6,  7,  13,  18-20,  21 

Saxony, 7 

Scratched  blue,  19,  22 
Scratched  decoration,  17.  19,  21,  22 
Siegburg,  6,  7,  10,  13 
Solon,  M.  L.,  15,  17 
Staffordshire,  15,  18-20 
Stanniferous  enamel,  7 
Stoneware,  brown,  8-12,  14-17,  22 
grey,  12-14,  16,  17 
grey  and  blue,  12-14 
red  brown,  8,  9,  17 
rusty  brown,  11,  12 
white.  6,  7,  13,  18-20. 
Strasburg,  Va.,  23 
Swinton,  England,  18 

Tinted  salt  glaze,  19 
Tinworth,  George,  21 
Turner,  John,  20 
Turner,  William,  15 

United  States,  21-25 
Utica,  X.  Y.,  23 

Wadsworth  Athenaeum,  17 
Watts,  John,  20 
Wedgwood,  22 
White  salt  glaze,  18-20,  21 
White  (potter),  20 
Wingender  & Brother,  7,  23,  24 
Wire  marks  on  base,  10,  12 
Wood,  Aaron,  19 

“ Works  of  Mercy  ” jugs,  8,  9,  13. 


33  ANTIQUES,  POTTERY  & PORCE- 
LAIN. Barber,  E.  A.  Salt  glazed  stone- 
ware. Germany,  Flanders,  England,  and 
the  U.  S.  (Art  primer  Pa.  Museum  & 
School  of  Industrial  Art).  Illus.  32pp. 
N.  Y.  1907  $10.00 


GETTY  RESEARCH  INSTITUTE 


3 3125  01498  2835 


